|CUSTOM CLASS||Theory + Technical||March 1996|
|Spicing Up Your Synth Sounds
Most synths now boast an infinite variety of sounds, but what the manuals don't tell you is that you need an infinite amount of time to explore them properly. Paul White suggests some short cuts to synth heaven.
|WIRE DRILL||Theory + Technical||August 1999|
|All About Studio Power & Wiring
Poor studio wiring can lead to hums and buzzes, but you can avoid the worst of these problems by following a few simple rules. Paul White and Hugh Robjohns explain all.
|BATTERY FARMING||Theory + Technical||May 1999|
|Avoiding Equipment Battery Failure
It seems everybody is talking about the millennium bug, but a far greater threat to the operation of our studios is already ticking away inside our effects units and synthesizers. Paul White gives a battery health warning.
|BAY WATCH!||Theory + Technical||March 1998|
|All About Patchbays
Paul White follows up a few leads and discovers they all end at the patchbay.
|BEYOND THE BOUNDARY||Theory + Technical||December 1995|
|All About The Boundary Effect
Accurate monitoring is a must in the recording studio, but the perceived level of bass depends on where you are standing and where the speakers are positioned. Paul White explains why in audio, a boundary literally means a six.
|MICS: THE MECHANICS||Theory + Technical||April 1998|
|Mics: The Mechanics; Mic Types & Characteristics
The type of mic you choose for a give task can have a profound effect on the quality of the resulting recording. Paul White sorts out the dynamics from the capacitors.
|CAPACITOR MICROPHONES EXPLAINED||Theory + Technical||February 1998|
|Capacitor Microphones Explained
Paul White looks at the workings of capacitor mics and discusses their advantages for studio recording.
|CHOOSING A MICROPHONE: MICROPHONE TYPES AND USES||Theory + Technical||June 1995|
|Choosing A Microphone: Microphone types and
Every studio needs at least one mic, but which type and which model is best? Paul White provides some guidance.
|DBS EXPLAINED||Theory + Technical||February 1994|
Equipment specs quote them, meters read them and operating levels conform to them - but what is a decibel and where did it come from? Paul White explains.
|EVERYTHING TO GAIN||Theory + Technical||October 1995|
|All About Gain Structure
Do your recordings sound like they've been made through a white noise generator? Well, don't just blame the vintage synth or battered effects unit - it could be your gain structure that's at fault. Paul White offers some tips on getting it right...
|GROUND CONTROL OF MAJOR HUM||Theory + Technical||August 1994|
|Ground Loops explained
Few things can be more frustrating than having a recording system plagued by hum. Paul White explains the causes of hum-inducing ground loops, and offers practical advice on how to avoid them.
|INSIDE HEADPHONES||Theory + Technical||March 1994|
|Open or Closed Headphones?
Paul White looks at the differences between open and closed headphones and explains why neither type is a substitute for a loudspeaker monitoring system.
|LET ME BE DIRECT||Theory + Technical||April 1998|
|DI Boxes & Why We Need Them
Paul White explores the role of both passive and active DI boxes in recording applications.
|LOCK AROUND THE CLOCK||Theory + Technical||June 1996|
|SMPTE And MIDI Time Code
Paul White takes a closer look at SMPTE and MIDI Time Code, and their role in Tape-to MIDI sync.
|MIDI BASICS: Part 1||Theory + Technical||August 1995|
|MIDI Basics: Part 1
Paul White kicks off a new series for newcomers to MIDI.
|MIDI BASICS: Part 2||Theory + Technical||September 1995|
|MIDI Basics: Part 2
Paul White's absolute beginners' guide to MIDI continues. This month, he explains the concept of MIDI sequencing.
|MIDI BASICS: Part 3||Theory + Technical||October 1995|
|MIDI Basics: Part 3
What are MIDI messages and what do they do? Paul White explains.
|MIDI BASICS: Part 4||Theory + Technical||November 1995|
|MIDI Basics: Part 4
Most contemporary sequencers include facilities that make it possible to automate all the key aspects of a MIDI mix, but all too often they remain unused. Paul White explains how to dip your toe in the water without falling in...
|MIDI BASICS: Part 5||Theory + Technical||December 1995|
|MIDI Basics: Part 5
Paul White looks at the benefits of using a multi-port MIDI interface.
|MULTITIMBRALITY BASICS||Theory + Technical||February 1994|
Although much more widely used than ever before, the ability of electronic instruments to produce numerous different sounds at the same time is still not always fully understood. Paul White explains the underlying concept of multitimbrality.
|OHM SWEET OHM||Theory + Technical||October 1994|
|The Importance of Impedance
Open just about any equipment manual and you'll come across terms like input impedance, output impedance, impedance matching and so on - but what do they all mean, and does it matter anyway? That Paul White chappy - damn his impedance - explains.
|SOFT STUDIOS: Part 1||Theory + Technical||August 2000|
|Setting Up A Desktop Studio: Part 1
In the first part of a new series, Paul White looks at the business of setting up a desktop computer-based studio. The first stage of planning is to determine exactly what you want your system to be capable of.
|SOFT STUDIOS: Part 2||Theory + Technical||September 2000|
|Setting Up A Desktop Studio: Part 2
Continuing his series on setting up a recording environment based around a Mac or PC computer, Paul White goes through the hardware and software options for recording audio alongside your MIDI tracks.
|SOFT STUDIOS: Part 3||Theory + Technical||October 2000|
|Setting Up A Desktop Studio: Part 3
Paul White concludes this short series by considering a more sophisticated desktop studio incorprating an external digital mixer.
|SYNCHRONISATION EXPLAINED||Theory + Technical||July 1994|
For the benefit of those adding a MIDI sequencer to their multitrack tape facilities, Paul White explains the various synchronisation options.
|TAPING THE HISS!||Theory + Technical||January 1996|
|Tape Noise Reduction Explained
Noise reduction comes in various guises, with Dolby alone offering five different systems. Paul White explains the difference between Dolby, dbx and a bag on your head...
|THE NOISE OF ART||Theory + Technical||May 1995|
|Noise and how to avoid it
Paul White explains exactly what noise is and offers hints on keeping it to a minimum in your recordings.
|THE RED LIGHT ZONE||Theory + Technical||May 1996|
|The Mysteries of Metering
All mechanical meters are VU meters, all bargraph meters read peak levels - and both types will give the same reading if you feed in a test tone. Reasonable enough assumptions, but wrong on all counts, as Paul White explains.
|WHO NEEDS MIXERS?||Theory + Technical||March 2001|
|The Pros & Cons Of Software & Hardware Mixers
More than ever before, it's possible to reproduce the functions of a hardware mixer with software in a computer. But can you completely replace a mixer with software - and, more to the point, should you be trying to? Paul White plays devil's advocate...